moray james

they look to be Quartet's with replacement terminal cups which is no big deal.

a KLF10 horn would make the perfect and ideal tweeter for a modified KLF20 or 30 as the dispersion and polar characteristics (especially at crossover) will match perfectly to the mid horn. They (the mid horn and the tweeter) will sound and disperse exactly the same. You will also have excellent time alignment with these two horns working together.

the tubes will alter dispersion but they alter the sound less than any horns I have ever used. Drivers will sound different so with a relatively neutral tube you can pick the one you like the sound of. At some point you will need to fine tune our network.

the horns are almost identical but they are set up for different purposes they are made to fit different drivers. The KLF10 runs a K79 style one inch driver the KLF20/30 mid horns are designed to fit the same mid compression driver used in most other Klipsch such as the H2/3, CW2/3 the Forte, Forte 2 the Chorus and Chorus2 (and others) which has a larger diaphragm and in all these cases the horn is only used as a mid horn though it is a wide band design. If you can find a set of horns from a KLF20/30 or a CF3/4 (different and better horn again but similar in size just a little larger) because those would be a better investment as they will allow you more options so far as drivers go and that will yield lower distortion due to the larger diaphragm size used.The KLF20/30 mid horn is a wide band horn it can be used to run from mid to tweeter range and is designed for a one inch screw on driver so that means a driver with a 13/8" screw on thread. The CF3/4 horn is also set up for a one inch screw on driver. I hope this helps.

The photo of the K-Tubes is not mine but is taken from an on line source. In that photo the tubes were mounted to a bullet tweeter you can also mount them directly to compression drivers or cone drives or ribbon or electrostatic drives your choice. I prefer to use a double cutaway design and I mount them parallel to the floor centred at my seated ear level as that provides the best stage and image. I set up the speakers in an equilateral triangle such that from the sweet spot I can look directly down the centre of each tube, the slots are positioned vertically so that the solid sections are to the left and right of the tube. I make mine by rolling a layer of foolscap paper on a tube which has the same OD as the exit opening of the compression driver I am using. Some scotch tape and a fine line felt tip pen to lay out the profile onto the paper tube which I then cut out with scissors. I then fix the tube with a little more tape to ensure it is secure and mount it to the comp driver. These simple tubes take minutes to make and sound wonderful because they do not store any energy the way a plastic or metal tube would. You can spend the day experimenting with all sorts of different profiles to see which you like the sound of best. If you are good with math and computers you can use a simple program to print out assorted expansion profiles with your computer and a printer which means you don' even need a form to roll your tubes on when you make them.

I think that you are referring to acoustic diffraction lenses which JBL and other companies have and do use? see attached image. This is one extreme of what a lens can be and these do control dispersion very well but any horn which does not have gain as its primary goal but rather dispersion control as a main design goal would be considered a wave guide or a lens. Such horns are intended to control or focus energy output into a specific pattern of radiation could still be called a lens but most often you see the term wave guide used rather than horn. The term horn gets used as a catch all name to describe most guides attached to a compression driver. If you want to see a design which I think is very interesting and useful look up Karlson K-Tubes. K-Tubes are essentially a fractional length plane wave tube with a progreassive termination usually an exponential or hypex slot termination and they have some distinct advantages over horns more a wave guide as they provide almost zero gain but they do provide good dispersion control for near field listening and they will always match your compression drive if custom made where driver exit diameter and tube diameter can be perfectly matched which is something which rarely happens with horns and drivers. see attached picture to see two variants of the K-Tube. hope this is of interest. PS: the photo of the diffraction lens shows a hybrid design which utilizes a conical trumpet to provide some gain and the diffraction lens to control both horizontal and vertical dispersion. Personally I find that the lens does indeed control dispersion very well according to its design however I find that they mess with the stage and image and I don't like using them for that reason.

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different gear different rooms and different set ups in those rooms are all going to contribute to how any speaker is going to perform. Why assume that the speaker is to blame if you can't make it do what you want? There are going to be a lot of variables at work here. The fact that there are those who can get their Epics to kick hard should tell you that it is possible to achieve. You can move a lot of air with four twelves in a room. If system tweaking was easy to do most everyone would have a killer system by now but that's just not the case even when lots on money and gear are thrown at it more systems than not do not truly impress at least not in my experience.

a horn is a horn and a horn is a device which provides gain and a horn requires a drive. A horn lens or wave guide is a horn which provides little to no gain but which provides directivity control. I think that is a fair description of the terms though I know some will argue. Historically horns were invented and developed to provide as much gain as possible remember when amplifiers were very small later as amplifier technology provided a lot more available power designers could utilize the horn design to control dispersion or directivity control and not be concerned with the horn providing the gain as they had larger more powerful amps at hand to provide the gain.

Well that's how they get them to play so loud, the trade off is the need for a couple of subs at home, you could always start with one sub.

I was on an baby asprin a day for five years and after reading about the research on this at Dr. John McDougall's site I stopped. I now carry a couple of full size 325mg asprin in a small tubular waterproof key chain container, just in case I have problems I can chew both of them. This makes more sense to me than the daily dose which can cause other problems.

Have you looked at the Cornscala D by Bob Crites? This is the way to go especially if you listen in the near field where a two way integrated over a shorter distance. Much larger and better (wide band) horn than you will find in a Klipsch product higher quality driver as well. https://critesspeakers.com/cornscala.html

no not in this circuit but I have replaced a good number of such resistors which are a cheap and not refined sound quality and a good quality wire wound non inductive replacement resistor will sound better no matter what the application. Good parts will always sound better but the good parts are going to cost you more.

I think amps sound pretty much the way they will no matter what you hook them up to assuming the load is reasonable I also think that good tube amps sound much like good SS amps. Sorry for the delay in responding this just fell off my radar.